(If only) CR 7.x / LR 4.x could "lopp off" that pesky tree-branch located just above the yellow clouds, and replace it with synthesized sky, it would be a classic ! I keep trying to imagine it gone in my mind - but I can see that (even if you were in a position to change shooting position, the combination of the tree-branches and the sunset likely did not make "perfection" possible. Such is life ! Sometimes I come to peace with just accepting those little "kinks". Am not one to want to "paint away" that which simply is, though (nor am I adept at it). Life is larger than (what is in our own minds) "art". Life does not imitate our concept of "art" - it seems to often be the "other way around" ...

Well, you know, that never particularly bothered me. I actually used the wide lens (this time at 11mm) to bring those trees into the shot. They, to my mind, bring interest, depth, and context into the setting. I could indeed have moved forward with the 14-42mm and put the trees outside the FOV, but I would have found that less interesting.

To me it's the sun that makes the sunset, but it's the clouds and surrounding scene that make the sunset beautiful. I find few shots more boring than a sunset shot consisting of a round orange ball in a massive sea of formless sky -- although it is a test of the shooter's knowledge if he/she can get it exposed correctly.

I am constantly amused when, at the beach at sunset, to see all the P&Ss aimed out over the water into the sun. Oh, yes.

Not nearly so colorful, but here is a comparison of my use of LR 3.6 "Highlight Recovery" set to maximum at 100% (when post-processing a 16-bit TIF RAW processing exported from DxO 6.60):

Yes, one could have gotten at least part way there by taking the earlier shot into PS and applying S/H, which is one of my favorite PS features. But now you can accomplish this kind of adjustment better during conversion. Gotta love it!